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Outrage (アウトレイジ)

Outrage (アウトレイジ)

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[ Directed by ]
KITANO Takeshi
[ Produced by ]
* MORI Masayuki
* YOSHIDA Takio
[ Cast ]
* BEAT Takeshi OTOMO
* SHIINA Kippei MIZUNO
* KASE Ryo ISHIHARA
* MIURA Tomokazu KATO
* KUNIMURA Jun IKEMOTO
* SUGIMOTO Tetta OZAWA
* Tsukamoto Takashi IIZUKA
* NAKANO Hideo KIMURA
* ISHIBASHI Renji MURASE
* KOHINATA Fumiyo DETECTIVE KATAOKA
* KITAMURA Soichiro MR. CHAIRMAN
[Staff]
* Screenplay: KITANO Takeshi
* Editor: KITANO Takeshi
* Director of Photography: YANAGIJIMA Katsumi
* Lighting: TAKAYA Hitoshi
* Production Design: ISODA Norihiro
[ Production Company ]
BANDAI VISUAL, TV TOKYO, OMNIBUS JAPAN, OFFICE KITANO
[ Distributor (Japan) ]
WARNER BROS. PICTURES JAPAN, OFFICE KITANO

Release Date: June, 12th, 2010
Running Time: 109 min
Genre: Action / Adventure , Feature
Color: Color
Screening Format: 35 mm
Screen Size: Cinema Scope (1: 2.35)
Sound Processing: Dolby Digital
[ Story ]
A violent action film from director Kitano Takeshi, shown in the Competition at the 63rd Cannes Film Festival. Kato (Miura Tomokazu), underboss of the massive Sanno-kai criminal organization that controls the whole of the Kanto region, orders Ikemoto (Kunimura Jun) , Otomo (Beat Takeshi), head of the Otomo syndicate., little do They suspect that this seemingly simple clean-up job will lead to a bloody upheaval of unprecedented scale …
[ Official Site ]
office-kitano.co.jp/outrage/main.html

I saw Outrage after Thirteen Assassins Mike. A fact that probably has influenced me a lot. In recent years, some more to Kitano, the two directors have experienced a new phase of their career, in many respects perhaps not the best. But if Mike, alas, seems to have chosen the path of blockbusters, contradicting the ‘film proletarian’, independent and irreducible, that made him great, however, allowing them to capture a wider audience but also different from the one he was used to, Kitano, almost in an opposite movement and self-defeating, seems to have slammed the door on that audience (and the critical one) who had made one of the greatest film icons of the nineties. After the self-reflexive trilogy (but also metaphorical entire report of a country with Western culture and the relationship between art and life) of Takeshis’ , Glory to the Filmmaker and Achilles and the Tortoise (the latter, for me, one of the his best films), Outrage was launched as a return to the yakuza film and therefore, at least in the expectations, the old Kitano, but, at Cannes, the film was greeted very coldly and implicit disappointment. The fact is, Outrage is not sparing anything or anyone. And especially not trying to please (here the difference with the last Miike: indeed, in some respects, Outrage remember the harshness of some of the old Miike’s film). Here there are no yakuza who act like boys ( Sonatine ), sick wives terminals which give, whatever the cost, one last trip before his death ( Hanabi ) or children to care for and accompany a training trip ( Summer of Kikujiro ): in other words there are moments of tenderness, or characters with which to try anyway, apart from their brutality, a minimum of empathy. All in Outrage takes the viewer on the door, at a safe distance. The portrait of the world of the yakuza (which is also a metaphor of contemporary Japan, and not only of that country) is cruel and merciless. Perhaps even more than it was in the film Fukasaku, who had already made a clean sweep of all the stereotypes about honor codes and sense of loyalty, but still partially retained some underlying humanism (though reduced to a flicker ), if only in the sense of conscious despair experienced by at least some of its protagonists. In Fukasaku film still he felt compassion (although towards the monsters), in Outrage no longer even that. Film tough, hard as a stone (even if the humor is often so black and grotesque as not alleviate ‘fatigue’ of vision), Outrage is a movie for meditation and review. I do not know whether beautiful or not, why did not attribute one vote, but certainly the testimony of un’irruenza authorial that in a system like the Japanese is in itself worthy of applause sound.

[ Film Festivals, Awards ]

Genji-15th Pusan Film Festival in October 2010

Cannes Film Festival 2010 – In competition

[Katsuyuki Nakanishi]

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Katsuyuki Nakanishi
Born on 1984 in Nagoya City, Aichi Prefecture. Graduated in Vantan Film and Movie Institute major in film director. The fourth graduate of JSC Cinematographers assistant upbringing cramming school. While he was studying in Tokyo, he was also working with Director Shinya Tsukamoto's movie at the same time. After that, he became part of the lighting department of Toei Studios Kyoto, studied under Kiyoto Ando and Takashi Sugimoto. In these movies, he worked as an assistant lighting director with Takashi Sugimoto in "Chacha - Tengai no Onna"(2007) and Kiyoto Ando in "The Fallen Angel"(2010). He work as a freelancer since 2011 and became part of these latest movies as a lighting director of Director Yang Ik-June's ”Shibata and Nagao"(2012), Director Keisuke Yoshida’s ”Himeanile”(2016), Director Kohki Yoshida’s ”ThreeLights"(2017), Director Hiroshi Ando’s ”Moon and Thunder" (2017) and Director Shinya Tsukamoto’s ”Killing” (2018).

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